"Women Artist" British artist Madeline Emily Green 1884-1947

Madeline Green (British painter, 1884-1947) The Young Man


Artist Madeline Green was a long-term resident of the borough of Ealing and completed many of her works in her studio at The Mall in Ealing. Ealing is London's third largest borough, which is located in the heart of west London. Madeline Green was a figurative artist whose style is lively & fluid, bringing her characters to life & infusing her work with a sense of grace & humour. Madeline Emily Green exhibited regularly at Britain's Royal Academy & the Society of Women Artists between 1912-1943.

Madeline Green (British painter, 1884-1947) Two Children in a Stable

Madeline Green (British painter, 1884-1947) Kate and Another

Madeline Green (British painter, 1884-1947) Glasgow

Madeline Green (British painter, 1884-1947) The Model c 1915

Madeline Green (British painter, 1884-1947) The Chenille Net

Inadvertently Sharing the Harvest - 1600s Food for hungry dogs, cats, monkeys, squirrels, & a random parrot

Adriaen van Utrecht (Flemish Baroque Era Painter, 1599-1652) Still Life with Dog and Monkey (and parott) 1644

Unknown Dutch artist, The Cat's Meal. 1625-50

Frans Snyders (Dutch artist, 1579-1657) Monkeys Stealing Fruit

Adriaen van Utrecht (Flemish Baroque Era Painter, 1599-1652) Still Life with Dog and Cat (and squirrel)

Frans Snyders (Dutch artist, 1579-1657) Still Life with Lobster, Poultry, & Fruit (and cat!)

Giuseppe Recco (Italian, Neapolitan, 1634–1695) Cat Stealing Fish

Balthasar van der Ast (Dutch Baroque painter, 1593-94–1657) Still Life with Macaws 1622

The sad, wealthy Victorian women of English artist George Frederic Watts (1817-1904)

George Frederic Watts (English artist, 1817-1904) Alice Ellen Terry


George Frederick Watts created both portraits & symbolist paintings. He intended that his symbolist paintings would form part of an epic symbolic cycle called the "House of Life," in which the emotions & aspirations of life would all be represented in a universal symbolic language. He also painted portraits, such as these, of the most powerful & wealthy English men & women of the era, intended to form a "House of Fame." In his portraits Watts sought to create a tension between disciplined stability & the power of action. He was known for emphasising the signs of strain & wear on his privileged sitter's faces. Oh, the oppressive burden of power & wealth...


George Frederic Watts (English artist, 1817-1904) Julia Margaret Cameron


George Frederic Watts (English artist, 1817-1904) Dorothy Tennant Later Lady Stanley


George Frederic Watts (English artist, 1817-1904) Choosing


George Frederic Watts (English artist, 1817-1904) Lilian MacIntosh


George Frederic Watts (English artist, 1817-1904) Eveleen Tennant (Mrs F W H Myers)


George Frederic Watts (English artist, 1817-1904) Mrs Arthur Sassoon


George Frederic Watts (English artist, 1817-1904) Portrait of a Lady


George Frederic Watts (English artist, 1817-1904) Josephine Elizabeth Gray Butler

George Frederic Watts (English artist, 1817-1904) Violet Lindsay


George Frederic Watts (English artist, 1817-1904) Self Portrait 1834

Order, pattern, & William Morris 1834-1896

The most famous 19C English pattern & craft devotee was William Morris (1834-1896), who believed that art & society are inextricably linked.

1876 Pimpernel

Art for Morris meant not only the fine arts of painting & sculpture but "that great body of art by means of which men have at all times ... striven to beautify the familiar matter of everyday life."

1885 Fritillary

He believed that such art arose from a basic human instinct to create, & was "a joy to the maker & user alike" which satisfied personal creative talent & enriched society as a whole.

1873 Acanthus Wallpaper

But the traditions upon which such art rested - the skills of the artist-craftsman, which Morris saw exemplified in medieval workshop practice & the guild system - had been eroded.

1874 Larkspur Wallpaper, polychrome version

Since the Renaissance, the concept of the artist as a unique & special genius had led to a diminution in status of the craftsman & an inevitable division between the fine & decorative arts.

1881 St. James

This distinction had a particularly adverse effect on applied art, especially during the 18th-century, when the rise of an affluent middle class led to an increased demand for furniture & furnishings. In 1861, William Morris founded the decorative arts firm of Morris, Marshall, Faulkner & Co to undertake carving, stained glass, metal-work, paper-hangings, chintzes (printed fabrics), & carpets.

1876 Chrysanthemum Wallpaper

Morris revived old crafts & traditions, often immersing himself in historical texts or seeking out craftsmen from whom he could learn dying arts. The company's offerings soon extended to include, besides painted windows and mural decoration; furniture; metal & glass wares; cloth & paper wall-hangings; embroideries; jewelery; woven & knotted carpets; silk damasks; & tapestries.

English painter John Everett Millais 1829-1896 & my granddaughters...

John Everett Millais (English painter, 1829-1896) Raking Leaves 1856

This painting so reminds me of our 5 grandaughters who love to rake leaves up here in the woods in the fall. They gather the noisy leaves into enormous piles and then run and jump into them, scattering them back across the ground.